现代性是当代油画创作的一个共同背景。现代性这个双刃剑，无疑在左右着当代艺术的选择。从大的类型看，在中国油画界大致有两类创作立场。一类是艺术家以敏锐和犀利的手法，揭示当代人生存的困惑和无奈，如方力钧、岳敏君等。也有另一类的艺术家如朝戈、丁方等，他们深切地体会到现代性给人的精神带来的切肤之痛，但他们却返身而去，去追寻人类共同的精神故乡。他们相信，人类古往今来与崇高和永恒相关的精神家园在当代更具有召唤力，更值得我们去向往和追寻。

　　那么，我们来看戴增钧究竟做了什么？我们在此又将中国油画这个大舞台作为背景，把以上所列举的两个类型做参照，来分析他们的绘画，判断他的贡献。

　　首先，戴增钧的创作，是具有明确精神选择的。首先表现在不同于大量停留在以简单再现生活场景为目的的创作的区别。戴增钧的创作，在对现代性这个背景有深切理解并选择了一个独立的立场。他不同于以上列举的两种不同类型的创作的是，他的立场既表达了当代生活中的困惑和无奈，又有对传统精神或概念的质疑。他创造了一个由他自己导演的梦境。这个梦境或将人与动物共置于一个异样氛围之中，将他（它）们处于一个奇异的关系之中，这种并置实质是在对人生存的荒谬感的一种追问。同时，这种追问具备了象征感。

　　在他的作品中，首先有人，这个人可以认为是第一人称的作者自己，也可以认为是广义的一个当代人，这是一个哲学意义上的抽象的人。在他设置的矛盾另一方，则是代表人生存的另一方：同是生物的不同种类的动物。这个既不生机勃勃又不垂垂老矣的人，他盲目甚至执着地捕捉、寻觅，既可以认为是平庸的为获得而努力，也可以认为是对生命意义追求的盲目和荒谬。在同类作品中也有另外一种，则是以寓言、成语中的情节做母题，又显示了作者将约定俗成经典概念进行调侃和质疑，又更深一个层次地将人放在传统文化面前，既可怜又可笑。在这个状态之下，又值得对他们同情和尊敬。是一个以戏谑方式下的“哀其不幸和怒其不争”。

　　这种构想和创意是有深度的，这种立场是鲜明独特的，这种表达又是极具智慧的。而如何能准确表达则需要绘画语言选择和锤炼，用什么的形象扮演这个人的角色，动物选择什么种类和动态来充当另一方角色，他（它）们又处在怎样环境和氛围中才能具有象征意义，这都是需要极富想象力和判断力的学养和知识准备的。与那些拍来照片就画的创作相比，这种艺术创造的含量是极高的。

　　中国当代油画创作中又可分为观念型和语言型两大类型，前者强调观念的批判意义和社会学意义，后者则强调精神性和绘画语言的表现力，能弥补二者之间鸿沟者极少。只有尚扬先生的创作才能以他极大的创造天赋和巨大的成就填补了二者之间的鸿沟，或者说他富有全新创造的艺术成果，淹没了这个鸿沟而又形成了他的金字塔。由这个观点来看，戴增钧的创作虽不可与尚扬同日而语，但也可看到他在观念与语言方面成功的吻合。作品既有鲜明的观念，又选择了准确绘画语言。观念是独特的，语言又具有充分的表现力。充满了绘画语言的美感，而这种美感又符合作品观念所需的要求。

　　由于以上的理由，我极珍视戴增钧的创作。喜欢他的画。

徐福厚

二千又十二年秋

Absurdity and Symbolism of Dai Zengjun's Works

　　Modernity is the common background for the creation of contemporary oil painting. It is no doubt that Modernity, this double-edged sword, determines the choice of contemporary art. From the general prospective, there are two major creation positions in Chinese oil painting. Those who hold the first position such as Fang Liyun and Yue Minjun tend to reveal, in incisive and acute way, the confusion and helplessness of the contemporary people. Those from the other position could feel profoundly the keenly felt pain brought about to our spirits by this modernity. These painters include Chao Ge and Ding Fang. They leave this modernity behind and try to find our common spiritual home. They believe that our spiritual home which has been related to lofty and perpetual through all ages has greater attraction nowadays, and deserves our greater yearning and pursuit.

　　So let's see what on earth has Dai done? Here we take Chinese oil painting as the background, and make contrast the above mentioned two positions, and analyze their paintings and judge their contributions.

　　First of all, Dai Zengjun's creations have clear spiritual choices. The first difference is that he do not make simple reproduction of life scenes as his creation purpose. Instead, he has a deep understanding of the context of Modernity and chooses a unique position. Different from the above mentioned positions, his position expresses the confusion and helplessness as well as question towards traditional spirit or concepts. He creates a dream which is directed by him. In such a dream, human are in a peculiar atmosphere together with animals, forming a strange relation. Such juxtaposition is a further questioning towards the sense of absurd of human survive. Meanwhile, such questioning has its symbolic sense.

　　In his work, first of all, it has a man, which could be regarded as the painter himself and also, be interpreted as the contemporary human in a broader sense, an abstract philosophical sense of people. At the other end of Dai's contradiction, is another kind of human existence: a creature, an animal from different species. This man, who is neither vibrant nor moribund, is capturing and seeking, blind and even dedicated. Such action could either be regarded as indifferent effort to obtain, or blindness and absurdity of the pursuit of purpose of life. There is also a kind of work, among other similar ones, that makes the plots from fables and idioms, revealing the painter's scoff and question towards conventional classic concepts as well as stepping forward to put human beings before traditional cultures which is pitiful and funny. Under such condition, they also deserve our sympathy and respect. This could be regarded as the jocose edition of "Grieve about his misfortunes and fume at his incompetence".

　　Such conception and creation is insightful; such position is distinctively unique and such expression is of rich intellect. While accurate expression of this position shows on pondering of expression and choose of painting language. In another words, great imagination, decisive judgment and expertise are all in need to decide the following questions, such as: with what image could play the role of this man; which kind of animals and what dynamic should be applied to the painting as the other side?; and in what circumstance and atmosphere will they be symbolic? Compared with those paintings created out of photography, such art involves superabundance artistic creation.

　　The creation of Contemporary Chinese oil painting could be divided into concept type and language type. The former type emphasizes critical significance and sociological significance of concept; whereas the latter one, spirituality and expression of painting language. Few works could make up the gap between these two major types. Only Mr. Shang Yang's creation talents, together with his great creation talent and prominent achievements, could bridge this gap. Or rather, his brand new creative outputs flooded this gap and then formed his own pyramid. From this perspective, though Dai's work could not be compared with Shang Yang's, we could also see his successful anastomosis of concept and language. His works have both bright ideas and accurate painting language. The idea is unique and the language has its full expression. They are filled with aesthetic perception of painting language and such aesthetic perception is in conformity with the requirement of works' concept.

　　For the above mentioned reasons, I extremely treasure Mr. Dai Zengjun's works and admire his paintings.

Xu Fuhou

Autumn, 2012.

作者：徐福厚